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Author: David Curtis
Publisher: Bloomsbury Publishing
ISBN: 1838714170
Category : Performing Arts
Languages : en
Pages : 320
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Book Description
In recent years the use of film and video by British artists has come to widespread public attention. Jeremy Deller, Douglas Gordon, Steve McQueen and Gillian Wearing all won the Turner Prize (in 2004, 1996, 1999 and 1997 respectively) for work made on video. This fin-de-siecle explosion of activity represents the culmination of a long history of work by less well-known artists and experimental film-makers. Ever since the invention of film in the 1890s, artists have been attracted to the possibilities of working with moving images, whether in pursuit of visual poetry, the exploration of the art form's technical challenges, the hope of political impact, or the desire to re-invigorate such time-honoured subjects as portraiture and landscape. Their work represents an alternative history to that of commercial cinema in Britain - a tradition that has been only intermittently written about until now. This major new book is the first comprehensive history of artists' film and video in Britain. Structured in two parts ('Institutions' and 'Artists and Movements'), it considers the work of some 300 artists, including Kenneth Macpherson, Basil Wright, Len Lye, Humphrey Jennings, Margaret Tait, Jeff Keen, Carolee Schneemann, Yoko Ono, Malcolm Le Grice, Peter Gidal, William Raban, Chris Welsby, David Hall, Tamara Krikorian, Sally Potter, Guy Sherwin, Lis Rhodes, Derek Jarman, David Larcher, Steve Dwoskin, James Scott, Peter Wollen and Laura Mulvey, Peter Greenaway, Patrick Keiller, John Smith, Andrew Stones, Jaki Irvine, Tracy Emin, Dryden Goodwin, and Stephanie Smith and Ed Stewart. Written by the leading authority in the field, A History of Artists' Film and Video in Britain, 1897-2004 brings to light the range and diversity of British artists' work in these mediums as well as the artist-run organisations that have supported the art-form's development. In so doing it greatly enlarges the scope of any understanding of 'British cinema' and demonstrates the crucial importance of the moving image to British art history.
Author: David Curtis
Publisher: Bloomsbury Publishing
ISBN: 1838714170
Category : Performing Arts
Languages : en
Pages : 320
Get Book
Book Description
In recent years the use of film and video by British artists has come to widespread public attention. Jeremy Deller, Douglas Gordon, Steve McQueen and Gillian Wearing all won the Turner Prize (in 2004, 1996, 1999 and 1997 respectively) for work made on video. This fin-de-siecle explosion of activity represents the culmination of a long history of work by less well-known artists and experimental film-makers. Ever since the invention of film in the 1890s, artists have been attracted to the possibilities of working with moving images, whether in pursuit of visual poetry, the exploration of the art form's technical challenges, the hope of political impact, or the desire to re-invigorate such time-honoured subjects as portraiture and landscape. Their work represents an alternative history to that of commercial cinema in Britain - a tradition that has been only intermittently written about until now. This major new book is the first comprehensive history of artists' film and video in Britain. Structured in two parts ('Institutions' and 'Artists and Movements'), it considers the work of some 300 artists, including Kenneth Macpherson, Basil Wright, Len Lye, Humphrey Jennings, Margaret Tait, Jeff Keen, Carolee Schneemann, Yoko Ono, Malcolm Le Grice, Peter Gidal, William Raban, Chris Welsby, David Hall, Tamara Krikorian, Sally Potter, Guy Sherwin, Lis Rhodes, Derek Jarman, David Larcher, Steve Dwoskin, James Scott, Peter Wollen and Laura Mulvey, Peter Greenaway, Patrick Keiller, John Smith, Andrew Stones, Jaki Irvine, Tracy Emin, Dryden Goodwin, and Stephanie Smith and Ed Stewart. Written by the leading authority in the field, A History of Artists' Film and Video in Britain, 1897-2004 brings to light the range and diversity of British artists' work in these mediums as well as the artist-run organisations that have supported the art-form's development. In so doing it greatly enlarges the scope of any understanding of 'British cinema' and demonstrates the crucial importance of the moving image to British art history.
Author: David Curtis
Publisher: Thames & Hudson
ISBN: 0500776784
Category : Art
Languages : en
Pages : 467
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Book Description
Artists’ Film offers a lucid, accessible account of artists’ unique contribution to the art of the moving image in the twentieth and early twenty-first centuries. International in scope and accessibly written by a renowned authority on the subject, Artists’ Film is an introductory guide to the exciting and expanding field of artists’ film and an alternative history of the moving image, chronicling artists’ ever-evolving fascination with filmmaking from the early twentieth century to now. From early pioneers to key artists of today, writer and curator David Curtis offers a vivid account of the many creators who have been inspired by the cinematic medium and who have felt compelled to interpret and respond to it in their own way. In doing so, Curtis discusses these artists’ widely differing achievements, aspirations, theories, and approaches. Featuring over four hundred international moving-image makers and drawing on examples from across the arts, including experimental film, video, installation, and multimedia, this generously illustrated account offers an incomparable introduction to this continually evolving art form. A perfect read for anyone with an interest in the intersection of contemporary art and film.
Author: David Curtis
Publisher: Bloomsbury Publishing
ISBN: 1838714162
Category : Performing Arts
Languages : en
Pages : 533
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Book Description
In recent years the use of film and video by British artists has come to widespread public attention. Jeremy Deller, Douglas Gordon, Steve McQueen and Gillian Wearing all won the Turner Prize (in 2004, 1996, 1999 and 1997 respectively) for work made on video. This fin-de-siecle explosion of activity represents the culmination of a long history of work by less well-known artists and experimental film-makers. Ever since the invention of film in the 1890s, artists have been attracted to the possibilities of working with moving images, whether in pursuit of visual poetry, the exploration of the art form's technical challenges, the hope of political impact, or the desire to re-invigorate such time-honoured subjects as portraiture and landscape. Their work represents an alternative history to that of commercial cinema in Britain - a tradition that has been only intermittently written about until now. This major new book is the first comprehensive history of artists' film and video in Britain. Structured in two parts ('Institutions' and 'Artists and Movements'), it considers the work of some 300 artists, including Kenneth Macpherson, Basil Wright, Len Lye, Humphrey Jennings, Margaret Tait, Jeff Keen, Carolee Schneemann, Yoko Ono, Malcolm Le Grice, Peter Gidal, William Raban, Chris Welsby, David Hall, Tamara Krikorian, Sally Potter, Guy Sherwin, Lis Rhodes, Derek Jarman, David Larcher, Steve Dwoskin, James Scott, Peter Wollen and Laura Mulvey, Peter Greenaway, Patrick Keiller, John Smith, Andrew Stones, Jaki Irvine, Tracy Emin, Dryden Goodwin, and Stephanie Smith and Ed Stewart. Written by the leading authority in the field, A History of Artists' Film and Video in Britain, 1897-2004 brings to light the range and diversity of British artists' work in these mediums as well as the artist-run organisations that have supported the art-form's development. In so doing it greatly enlarges the scope of any understanding of 'British cinema' and demonstrates the crucial importance of the moving image to British art history.
Author: P. Gaal-Holmes
Publisher: Springer
ISBN: 1137369388
Category : Performing Arts
Languages : en
Pages : 231
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Book Description
This comprehensive historical account demonstrates the rich diversity in 1970s British experimental filmmaking, acting as a form of reclamation for films and filmmakers marginalized within established histories. An indispensable book for practitioners, historians and critics alike, it provides new interpretations of this rich and diverse history.
Author: A.L. Rees
Publisher: Bloomsbury Publishing
ISBN: 1838714197
Category : Performing Arts
Languages : en
Pages : 208
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Book Description
Avant-garde film is almost indefinable. It is in a constant state of change and redefinition. In his highly-acclaimed history of experimental film, A.L. Rees tracks the movement of the film avant-garde between the cinema and modern art (with its postmodern coda). But he also reconstitutes the film avant-garde as an independent form of art practice with its own internal logic and aesthetic discourse. In this revised and updated edition, Rees introduces experimental film and video to new readers interested in the wider cinema, as well as offering a guide to enthusiasts of avant-garde film and new media arts. Ranging from Cézanne and Dada, via Cocteau, Brakhage and Le Grice, to the new wave of British film and video artists from the 1990s to the present day, this expansive study situates avant-garde film between the cinema and the gallery, with many links to sonic as well as visual arts. The new edition includes a review of current scholarship in avant-garde film history and includes updated reading and viewing lists. It also features a new introduction and concluding chapter, which assess the rise of video projection in the gallery since the millennium, and describe new work by the latest generation of experimental film-makers. The new edition is richly illustrated with images of the art works discussed.
Author: A. L. Rees
Publisher:
ISBN: 9781838710637
Category : Experimental films
Languages : en
Pages : 196
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Book Description
"This new edition covers the history of avante-garde film and video, ranging from Cezanne and dada, via Cocteau, Brakhage and Le Grice, to the new wave of British video artists in the 1990s. The author also reconstitutes the avante-garde film as an independent form of art practice with its own internal logic and aesthetic discourse."--
Author: David Curtis
Publisher: John Libbey Publishing
ISBN: 0861969804
Category : Art
Languages : en
Pages : 177
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Book Description
This is the story of two short-lived artist-run spaces that are associated with some of the most innovative developments in the arts in Britain in the late 1960s. The Drury Lane Arts Lab (1967–69) was home to the first UK screenings of Andy Warhol's twin-screen 3 hour film Chelsea Girls, challenging exhibitions (John and Yoko / John Latham / Takis / Roelof Louw), poetry and music (first UK performance of Erik Satie's 24-hour Vexations) and fringe theatre (People Show / Freehold / Jane Arden's Vagina Rex and the Gas Oven / Will Spoor Mime Theatre). The Robert Street 'New Arts Lab' (1969–71) housed Britain's first video workshop TVX, the London Filmmakers Co-op's first workshop and a 5-days-a-week cinema devoted to showing new work by moving-image artists (David Larcher / Malcolm Le Grice / Sally Potter / Carolee Schneemann / Peter Gidal). It staged J G Ballard's infamous Crashed Cars exhibition and John & Dianne Lifton's pioneering computer-aided dance/mime performances. The impact of London's Labs led to an explosion of new artist-led spaces across Britain. This book relates the struggles of FACOP (Friends of the Arts Council Operative) to make the case for these new kinds of space and these new art-forms and the Arts Council's hesitant response – in the context of a popular press already hostile to youth culture, experimental art and the 'underground'. With a Foreword by Andrew Wilson, Curator Modern & Contemporary British Art and Archives, Tate Gallery.
Author: Chris Meigh-Andrews
Publisher: A&C Black
ISBN: 0857851888
Category : Art
Languages : en
Pages : 408
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Book Description
A History of Video Art is a revised and expanded edition of the 2006 original, which extends the scope of the first edition, incorporating a wider range of artists and works from across the globe and explores and examines developments in the genre of artists' video from the mid 1990s up to the present day. In addition, the new edition expands and updates the discussion of theoretical concepts and ideas which underpin contemporary artists' video. Tracking the changing forms of video art in relation to the revolution in electronic and digital imaging that has taken place during the last 50 years, A History of Video Art orients video art in the wider art historical context, with particular reference to the shift from the structuralism of the late 1960s and early 1970s to the post-modernist concerns of the 1980s and early 1990s. The new edition also explores the implications of the internationalisation of artists' video in the period leading up to the new millennium and its concerns and preoccupations including post-colonialism, the post-medium condition and the impact and influence of the internet.
Author: Emily Caston
Publisher: Edinburgh University Press
ISBN: 1474435335
Category : Music
Languages : en
Pages : 232
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Book Description
Based on new archival evidence and interviews, and setting out a new theoretical framework for music video analysis, Emily Caston presents a major new analysis of music videos from 1966-2016, identifying not only their distinctive British traits, but their parallels with British film genres and styles. By analysing the genre, craft and authorial voice of music video within the context of film and popular music, the book sheds new light on existing theoretical and historical questions about audiences, authorship, art and the creative industries. Far from being an American cultural form, the book reveals music video's roots in British and European film traditions, and suggests significant ways in which British video has impacted popular film and music culture.
Author: Joy I. Payne
Publisher: AuthorHouse
ISBN: 150494626X
Category : History
Languages : en
Pages : 249
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Book Description
The London FilmMakers Cooperative was founded in 1966 by a group of artists who sought to explore the possibilities of the moving image whilst maintaining autonomy over the production, distribution, and exhibition of their work. Although their films were not overtly political, artists nevertheless expressed their political attitudes by creating nonnarrative films, thereby rejecting conventional narrative structures associated with mainstream, commercial cinema, which they perceived as supporting the dominant ideology in society. A return to narrative in the 1980s coincided with the introduction of British Art Cinema and the art-house films of Derek Jarman, Peter Greenaway, and Sally Potter, all of whom made experimental films in the early days of the London Co-op.
